3rd YEAR SCIARC PORTFOLIO BY HYU LIM

HYU 林 恒 宇 HYU_SCIARC_PORTFOLIO_3.PDF

HYU LIM HENGYU

_

SCI ARC PORTFOLIO

CONTENTS

PA G E 1

TITLE S TAT E M E N T

2 4 6 8 10 12

D S 1 8 ’. 3 B D E S I G N S T U D I O : A R T I C U L AT I O N + T E C T O N I C S 2 1.1 INTRODUCTION 1.2 DIAGRAMS + CONCEPT 1.3 DIAGRAMS + PLANS 1 . 4 E L E VA T I O N + S E C T I O N 1.5 CHUNK AXON 1.6 MODEL PHOTOGRAPHS

14 16 17 18 20

D S 1 7 ’. 3 A D E S I G N S T U D I O : A R T I C U L AT I O N + T E C T O N I C S 1.1 INTRODUCTION 1.2 PLANS 1.3 SECTION 1.4 CHUNK AXON 1.5 DIAGRAMS

24 26 28 30 32 34 36 38 40 42

D S 1 7 ’. 2 B D E S I G N S T U D I O : OBJECTS TO WORLD 1.1 INTRODUCTION 1.2 PLANS 1.3 SECTION 1.4 CHUNK AXON 1.5 PROGRAM 1 . 6 C I R C U L AT I O N 1 . 7 S I T E A NA LYS I S 1 . 8 E N V I R O N M E N TA L 1.9 STRUCTURAL SYSTEMS 1.9 MODEL PHOTOGRAPHS

44 46 52 54 56 58

D S 1 5 ’. 2 A D E S I G N S T U D I O 2.1 INTRODUCTION 2.2 EXPLODED AXON 2.3 PLAN 2.4 SECTION 2 . 5 S I T E A NA LYS I S 2.6 RENDERS

62 64 66 72 78 82 84

D S 1 4 ’. 1 B D E S I G N S T U D I O : F I G U R E , F R A M E , F I E L D 2 . 1 C O N C E P T UA L D I A G R A M 2 . 2 C O N C E P T + S T R AT E G I E S 2 . 3 P R O G R A M A NA LYS I S 2 . 4 S I T E A NA LYS I S 2 . 5 H Y B R I D D R AW I N G 2.6 PLANS [ ENLARGED ] 2.7 SECTION MODELS

86 88 90

D S 1 4 ’. 1 B D E S I G N S T U D I O : F I G U R E , F R A M E , F I E L D - OV E RV I EW 2.1 FIGURE 2.2 FRAME 2.3 FIELD

92

D S 1 4 ’. 1 B D E S I G N S T U D I O : P R E C E D E N C E S : H A G I A S O P H I A & GEOMETRICAL DISSECTION 4 . 1 - 5 . 0 T E N L AY E R S

94 96 98 102 110 112

D S 1 3 ’. 1 A . A S M A L L S PA C E [ I M P L I C AT I O N S O F I N T E R S E C T I O N S ] 5.1 BODY DIMENSIONS 5.2 MASSING PROCESS 5 . 3 C O N C E P T UA L D I A G R A M 5.4 EXPLODED AXON 5.5 PLANS + SECTION 5.6 RENDERS

114 116 118 120

D S 1 3 ’. 1 A . F O U N D A T I O N S 6 . 1 T RU N C AT E D I C O S A H E D R O N 6 . 2 2 T R A N S F O M AT I O N 6.3 APERTURES 6.4 DIFFERENT MEDIUMS

122 120 121 122 123

V S 1 3 ’. 1 A . V I S U A L S T U D I E S : FA B R I C AT I O N S A N D D E L I N E AT I O N 7.1 PRECISION 7.2 COLLISION OF PRIMITIVES : ONE 7.3 COLLISION OF PRIMITIVES : T WO 7.4 COLLISION OF PRIMITIVES : THREE 7 . 5 M AT E R IA L T H I C K N E S S : F I NA L

124

A S 1 3 ’ 1 4 ’. A C A D E M I C PA P E R S

STATEMENT

The definition of architecture is one which is constantly ever - evolving and everchanging in the context of the modern world, where designs are often challenged by the inexplicably diverse nature of society. Hence, we begin to experience a collision of culture leading towards a never - ending discourse of the realms between forms and functions.

This portfolio features projects and written works from the southern california institute of architecture, comprising of academic essays, architectural studies and visual works which revolves around the preliminary discourse of architecture aimed at uncovering and developing an understanding of space , forms and function.

- P1

MEXICO CITY MIXED USE PROG. ARTICULATION AND TECTONICS II Studio : 3B | Spring 2018 Instructor : Jenny Wu Partner : Neno Videnovic Course Overview : The Studio introduces students to the comprehensive design and development of a large scale, building on an urban site. Advancing on the pedagogy established in previous studios (AMIGAA: Architecture as Mass, Interiority, Ground, Aperture and Articulation), this studio focuses on the design, development, and tectonic logic of the building envelope and its ability to articulate contemporary formal organizations. Assemblage versus monolithic form, surface versus mass, iconicity and image, the intentional obscuring of hierarchical mass, layered, and graphic assemblies, tectonics and materiality, constitute a range of concerns in the design work. Beyond design competence, students are expected to articulate and argue for conceptual and disciplinary positions in relation to issues of AMIGAA in anticipation of more advanced work in vertical and thesis studios.

- P2

- P3

DIAGRAMS + CONCEPT AV M O R A L E S

THE URBAN CORRIDOR: P R E S E R VAT I O N

I N R E S O N S E T O O U R U R B A N FA B R I C A N A LY S I S , W E WA N T E D TO A P P R O AC H T H E D E S I G N BY P R E S E R V I N G THE INHERENT CORRIDOR CONDITION.THE MASSES W E R E C O N F I G U R E D A N D C A L I B R AT E D A R O U N D T H E E X I S T I N G B U I L D I N G S W H I L E B A R E LY T O U C H I N G E AC H OT H E R TO P R O D U C E A N T E R R AC I N G VA L L E Y CONDITION FOR THE PLAZA THIS DIAGRAM SHOWS THE URBAN CORRIDOR, ITS ENTRACE POINTS, AND HOW THE MASSING AIMS TO I N T E N S I F Y T H E C I R C U L AT I O N V E R T I C A L LY T H R O U G H THE BUILDING.

BUC

ARE

LI

A D J A C A E N T PA R T S O F T H E C O R R I D O R S W E R E U S E D T O A R T I C U L AT E A N D A G G R E G AT E T H E S PA C E S F O R T H E VA L L E Y A N D T E R R AC E

URBAN CORRIDOR

PA S S A G E / S O R T C U T S

AY U N TA M I E N T O

U R B A N FA B R I C : THE URBAN CORRIDOR

THE PROJEC T RESPONDS TO A WIDER SCOPE OF U R B A N C U LT U R E O F M E X I C O C I T Y, P R O M I N E N T I N T H E U R B A N FA B R I C O F T H E C I T Y. B Y L I V I N G I N T H E C I T Y O N E E X P E R I E N C E S T H E C O N F I G U R AT I O N O F T H E C I T Y T H R O U G H WA L K I N G AC R O S S I T S U R B A N L A N D S C A P E W H I C H F E AT U R E S A VA S T N U M B E R O F PERMEABLE OPPORTUNITIES IN CUTTING ACROSS P L A Z A S A N D B LO C K S TO G E T TO W H E R E W E WA N T. T H E D I A G R A M C ATA L O G S T H O S E M O M E N T S A N D A C T S A S A S TA R T I N G P O I N T O F O U R P R O J E C T DEVELOPMENT

URBAN CORRIDOR

ROADS

PA S S A G E / S O R T C U T S

- P4

INTERIOR / EXTERIOR CORRIDOR

CORRIDOR AXIS

TY

T

T

CI

PA

+8

0%

+2

O

0F

TY

O

PA

CI

TY

CI

PA

5F +6

0%

+1

+4

0%

+1

O

0F

T

IN

T

/

EX

T

BR

EA

K

THE CORRIDOR AXIS ACTS AS THE R E G I S T R AT I O N L I N E F O R T H E A G G R E G AT I O N O F G E O M E T R I E S WHICH IN TURN PRODUCE A MORE I N T I M AT E S C A L E AT T H E A R E A O F THE CORRIDOR AND ALSO PRODUCE AN INDOOR/OUTDOOR TERRACING CONDITION.

E3

+38FT

+32FT

E2

+24FT

+20FT

+15FT

+00FT

+10FT

E1

+00FT

WORMS EYE

TY

PA

TY

T

TY

CI

0F

PA

O

+2

0%

+8

O

T

CI

PA

O

0%

5F +1

0%

+4

+20FT

+6

+1

CI

0F

T

+10FT

+30FT

- P5

DIAGRAMS + PLANS

U R B A N C I RUCRUBLAANT ICOI N R C U L AT I O N + L O C A L C+I RLCOUCLAALT ICOI N R C U L AT I O N

T H E C I R C U L AT THIEO N CIR A CNUDL EAN T ITOR N Y W A NA D S O EN R TI ERNY TW ED A SA O NR DI E N T E D A N D C A L I B R A T E D CTAOLW I BARRADT SE DT HT EO W I NAHREDRSE N TH T EU IRNBHAENR E N T U R B A N C O R R I D O R CCOONRDRI ITDI O N R C TH O EN D C I TR ICOUNL AT THIEO N CIR FR CO UM L AT I O N F R O M T H E G R O U N DT HEEX TGERROI O UN R DT OE XT THEER I N O TR ETROI OTRH A E LI SNOT E R I O R A L S O B E G I N S T O FBI N EG DI N I TSS TW OAFYI N WDR AI TPSP IW N AGY AWR ROAUPNPDI NTGH EA R O U N D T H E E X T E R I O R T EERXRTAECR II NOGR ST PE A RC RA E SC,I NI NGT SE PNASCI FEYS I, NI G N TTEHNES I F Y I N G T H E C O R R I D O R CCOONRDRI ITDI O N R C WOI TNHD IVTEI ROTNI CWL IATEH V E R T I C L A E I N H A B I T A T I OI N H . A B I TAT I O N .

U R B A N C I R CU U RL B AA T INO N C I R C U L AT I O N T H E H I G H L I G H TTEHDE GHEI O GM H LE ITGRHI ET SE DS HGOE W OM S ET THREI EESX TS EHROI O W RS FT LHOE OERX T E R I O R F L O O R P L A T E S A N D T HPEL R A ET SE P S EACNT D I V TE HCEI RRCE U SP LA E TC ITOI VNE F CL IORW C UFLRAOTM I OTNH FE L O W F R O M T H E I N T E R I O R T O E XI N T ET RE IROI O R RS PT A OCEEXS T. E R I O R S P A C E S .

I N T E R I O R C I IRNCTUELRAI TOIRO N C I R C U L AT I O N T H E H I G H L I G H TTEHDE GHEI O GM H LE ITGRHI ET SE DS HGOE W OM S ET THREI EI N S TSEHROI O WRS STTHAEI RI SN T E R I O R S T A I R S A N D C I R C U L A T IAONND PCA ITRHC U A LC AR TOI SOSN VPAARTI H O UASC RL O E VS ES LVSA R I O U S L E V E L S

E G R E S S A N DE EGLREEVSAST A ON RD S E L E VAT O R S T H E H I G H L I G H TTEHDE GHEI O GM H LE ITGRHI ET SE DS HGOE W OM S ET THREI EESG RS EHSOSWSST A TH I RES EAGNRDE S S S T A I R S A N D E L E V A T O R S O N ETLHEEV A I NT TOERRSI O ORN T H E I N T E R I O R

P R O G R A M M AT I C DIAGRAM

T H E P R O J E C T I S A M I X E D U S E E S TA B L I S H M E N T M A I N LY C O M P R I S I N G O F R E TA I L S PA C E S , G A L L E R I E S A N D A T H E AT E R . O N E S I D E O F T H E M A S S H O S T S C O M M E R C I A L P R O G R A M S S U C H A S R E TA I L S H O P S , R E S TA U R A N T S A N D C A F E S . W H I L E T H E O T H E R H O S T S M O R E A R T S P R O G R A M S S U C H A S A T H E AT E R A N D A R T G A L L E R Y.

T H E AT E R

LEVEL 2 - 3 1,500 SQ FT 10% OF OVERALL FOOTPRINT

T H E AT E R L O B B Y

LEVEL 2 - 3 2,700 SQ FT 16% OF OVERALL FOOTPRINT

T H E AT E R C H U N K

LEVEL 2 - 3 20,000 SQ FT 26% OF OVERALL FOOTPRINT

T H E C O N F I G U R AT I O N O F T H E S PA C E S A N D G E O M E T R I E S P R O V I D E S A N I N T E R E S T I N G S PA C E F O R T H E PROGRAMS DUE TO ITS TERRACING ON THE EXTERIOR AND INTERIOR E X T E R I O R S PA C E S

LEVEL 3/4 1,200 SQ FT 8% OF OVERALL FOOTPRINT

COMMERCIAL + R E TA I L S PA C E GALLERY + T H E AT E R R E S TA U R A N T

AY

AV

M

O

RA

LE

U

N

TA

IE

N

TO

S

G A L L E R Y + R E TA I L S PA C E

C O M M E R C I A L + R E TA I L S PA C E

BUC

- P6

M

ARE

LI

LEVEL 5 2,990 SQ FT 18% OF OVERALL FOOTPRINT

LEVEL 2 - 4 7,200 SQ FT 36% OF OVERALL FOOTPRINT

LEVEL 1 - 3 7,000 SQ FT 32% OF OVERALL FOOTPRINT

H I J

E LI

K

BUCA R

L

12

11

10

9

8

7

A B

6

C E F G 5

4

3

2

1

AYUNTAMIENTO

0m

10m

20m

15

14

H

13

I J

ELI

K

BUCA R

L 12

11

10

9

8

7

A B

6 C E F G 5

4

3

2

1

AYUNTAMIENTO

0m

10m

20m

- P7

55 FT

50 FT

45 FT

40 FT

35 FT

30 FT

25 FT

20 FT

15 FT

10 FT

05FT

- P8

ELEVATION +SECTION The elevations and section shows the interaction and intersections between the plaza, the first mass, the second mass. It also illustrates the concept of breaking interiority and exteriority of the floor plates meandering in and out of the outdoor terrace and back to the interior space

- P9

materials and tectonics.

The chunk diagram shows the various materials deployed for the project. It also highlights certain assembly for the project such as how the curtain wall system is structured. It also shows how interior spaces were organized. A grid system was used for various deloyment of structural system to internal spatial organization.

- P10

- P11

- P12

- P13

- P14

DTLA MIXED USE TOWER PROJECT ARTICULATION AND TECTONICS I Studio : 3A | Spring 2017 Instructor : Dwayne Owyler Partner : Neno Videnovic

Overview : In this final assignment the objective was to design a mixed use tower located in downtown Los Angeles. The project aims to explore and develop into site specificities, curtain wall tectonics and systems as well as programatic and spatial organization along a vertical axis for the tower. Prior to the project, precedential analysis was done on previous tower projects based on similar height and programatic arrangements.

Prompt: The prompt was to design a tower which features commercial programs, office programs and a hotel within the tower while meeting ADA, egress and structural requirements.

- P15

50

Roof

LEVEL 38 : HOTEL LEVEL 38 : HOTEL LEVEL 38 : HOTEL

1

48

1

21

2

23

3

34

4

54

5

5

Mechanical

A

A

A

A

A

A

B

B

B

B

B

B

C

C

C

C

C

C

D

D

D

D

D

D

44

43

Sky Lobby/Restaurant

Mechanical

1

1

21

2

23

3

34

4

54

5

5

LEVEL 22: OFFICES LEVEL 22: OFFICES LEVEL 22: OFFICES

1 33

Hotel

32

Mechanical

1

21

2

23

3

34

4

54

5

5

A

A

A

A

A

A

B

B

B

B

B

B

C

C

C

C

C

C

D

D

D

D

D

D

1

1

21

2

23

3

34

4

54

5

5

LEVEL 1 : LOBBY LEVEL 1 : LOBBY LEVEL 1 : LOBBY

1

21

2

23

3

34

4

54

5

5

A

A

A

A

A

A

B

B

B

B

B

B

C

C

C

C

C

C

D

D

D

D

D

D

3A Design Studio/ AMIGA

- P16

1

05

Office

50

Roof

50

48

Roof

Mechanical

48

Mechanical

44

Sky Lobby/Restaurant

43

Mechanical

44

Sky Lobby/Restaurant

43

Mechanical

33

Hotel

32

Mechanical

33

Hotel

32

Mechanical

3A Design Studio/ AM

3A Design Studio/ AMIGAA: Articulation and Tectonics I/Griffin, Oyler ,Rochas, Spina

05

Office

04

Mechanical

03

Commercial

02

Office Lobby

01

Hotel Lobby

P3

Garage 0

05

Office

25’

50’

- P17

2HR FIREPROOF RATED CORE FIRE STAIR SHAFT SERVICE ELEVATOR SHAFT

ELEVATOR SHAFT

UTILITY CLOSET

STEEL ENFORCED COLUMNS

TRIPLE GLAZING PANEL EXTRUDED ALUMINIUM MULLIONS

POLYCARBONATE MATERIAL

materials and tectonics.

The chunk diagram shows the various materials deployed for the project. It also highlights certain assembly for the project such as how the curtain wall system is structured. It also shows how interior spaces were organized. A grid system was used for various deloyment of structural system to internal spatial organization.

A B C D E

- P18

F G

FLOOR SLABS STEEL COLUMNS FLOOR CLADDING FLOOR JOIST I - BEAM STEEL DECKING STEEL PLATE

WINDOW PANE LEVEL 42 HOTEL 565 FEET

TRIPLE PANE GLAZING

MULLION

LEVEL 41 HOTEL 555 FEET

LEVEL 39 HOTEL 545 FEET

LEVEL 38 HOTEL 535 FEET

1’ - 1/4” DETAILED SECTION

CLADDING JOIST IBEAM

MULLION

TRIPLE GLAZING PANEL

CONCRETE FLOOR TOPPING DROP CEILING

1’ - 1/8” DETAILED SECTION

9

8 7 6 5 4 3 2

- P19 1

MASSING ITERATIONS

SCHEME ONE

SCHEME TWO

SCHEME THREE

The massing was arrived after iterating several massing strategies across a single tower condition, a twin tower condition and a slab tower condition. Two out of the several iterations were chosen to produce new taxonomies as a combination of the two to arrive at the final massing.

The massing aims at creating diverse spatial conditions across various programs with the core cutting through every program yet detaching and attaching itself to different programs when deemed necessary. The separation of volumes create an interesting courtyard space. However it lacks efficiency in some core - programs districution

The massing aims at creating diverse spatial conditions across various programs with the core cutting through every program yet detaching and attaching itself to different programs when deemed necessary.The iteration though, explores a possibility of having individual open space access for all programs across multiple levels.

In this single tower configuration, two cores are allocated on opposite sides of the tower for equal distribution of circulation.

However the allocation of two cores defeats the purpose of having a single tower configuration.

SKY LOBBY OFFICE HOTEL COMMERCIAL CORE OPEN PLAZA

PROGRAMATIC DIAGRAM

LEVEL 50 : ROOFTOP BAR

CIRCULATION DIAGRAM

CORE PLAN DIAGRAM

LEVEL 50 : ROOFTOP BAR TWIN CORE LAYOUT

LEVEL 45 - 49 : SKY LOBBY + GYM + POOL

LEVEL 45 - 49 : SKYLOBBY CIRCULATION

The tower core is divided in two to accomodate the different programs.

The core on the left accomodates the office programs from the segregated office lobby, While the core on the right caters to the hotel programs and levels

LEVEL 45 : HOTEL MECHANICAL

LEVEL 34 - 44 : HOTEL LEVEL CIRCULATION

LEVEL 34 - 44 : HOTEL LEVEL CIRCULATION

LEVEL 1 - 4 LOBBY + COMMERCIAL CORE TO FOOTPRINT RATIO : 8%

LEVEL 42 - 44 : LUXURY HOTEL SUITES

LEVEL 34 - 42 : STANDARD HOTEL ROOMS

LEVEL 33 : OFFICE MECHANICAL

LEVEL 5 - 32 : VISITOR + EMPLOYEE ENTRANCE

LEVEL 5 - 32 : BOARD ROOMS

LEVEL 5 - 32 : OPEN OFFICE PLAN

LEVEL 1 - 4 LOBBY + COMMERCIAL CORE TO FOOTPRINT RATIO : 10%

LEVEL 5 - 32 : EMPLOYEE ENTRANCE

LEVEL 5 - 32 : EXEC OFFICE CHUNK

LEVEL 3: COMMERCIAL CIRCULATION LEVEL 4 : COMMERCIAL MECHANICAL LEVEL 2: OFFICE ENTRANCE LEVEL 3 : COMMERCIAL OPEN LEVEL 1 : HOTEL ENTRANCE

LEVEL 3 : COMMERCIAL CHUNK LEVEL 2 : OFFICE LOBBY LEVEL 1 : HOTEL LOBBY

- P20

LEVEL 1 - 4 LOBBY + COMMERCIAL CORE TO FOOTPRINT RATIO : 12%

circulation + program.

The circulation diagrams shows the circulation for the towers by highlighting individual circulation for the two main programs - the hotel and the offce spaces and the egress diagram for the evacuation route between the different plans.Circulation + Egress diagram.

The programatic diagrams shows the programatic scheme chosen for the tower which comprises of stacked programs , the core layout shows the core scheme chosen for the tower which is a twin core layout catering to each the offce and the hotel zonesCore Layout +Program Diagram

- P21

BUILDING HEIGHT

The tower is located between th high rise and low rise tower, pro tower with a unique and diverse skyline. Programs were calibra oriented towards the different s verticle conditions

S I T E A N A LY S I S

Site specificities.

The top diagrams shows various site conditions on a global and local scale, leading to site specifc strategies deployed on the ground level. The various diagrams show the different building distribtion across the city, site circulation and localized circulation.

The tower is located between the transition of high rise and low rise tower, providing the tower with a unique and diverse view of the skyline. Programs were calibrated and oriented towards the different site and verticle conditions

110 FWY NORTH EXIT 110 FWY SOUTH EXIT

S U M M E R A N A LY S I S TIME : 10 AM SHADOW LOCATION : LOS ANGELES, 7TH AND BIXEL STREET

S PAT I A L D E F I N I T BETWEEN GRID S

The diagram shows the geom lated from the different grid s across different levels from th turn, competes to define the i exterior pockets of space and conditions

50 FT 40 FT

The annual sun diagram shows a simulation of different sunlight and shadow condition on the site across various noons throughout the year, the pockets and o sets of space provide diverse light and shadow condition throughout the tower and di erent programs. Allowing the occupants to experience better light through different times of the year.

20 FT

F A L L A N A LY S I S TIME : 10 AM SHADOW LOCATION : LOS ANGELES, 7TH AND BIXEL STREET

W I N T E R A N A LY S I S TIME : 10 AM SHADOW LOCATION : LOS ANGELES, 7TH AND BIXEL STREET

ANNUAL SUN SHA

The diagram shows a simulat sunlight and shadow condition across various noons through pockets and offsets of space p light and shadow condition th tower and different programs occupants to experience bette different times of the year.

S P R I N G A N A LY S I S TIME : 10 AM SHADOW LOCATION : LOS ANGELES, 7TH AND BIXEL STREET

- P22

SITE SECTION

A site section clearly indicate proposition for the tower give between the border of low an towers, offering inhabitants a towards different vertical urb

BUILDING HEIGHT DISTRIBUTION The tower is located between the transition of high rise and low rise tower, providing the tower with a unique and diverse view of the skyline. Programs were calibrated and oriented towards the different site and verticle conditions

S I T E C I R C U L AT I O N LOW RISE BUILDINGS HIGH RISE BUILDINGS

LO C A L I Z E D C I R C U L AT I O N

The tower located on 7th and Bixel requires quite a detour from the 110 fwy, though observation, higher traffic density converges on 7th street.

Due to the convergence of higher traffic on the axis of Bixel street, the tower calibrates certain ground geometries and public spaces towards Bixel axis such as the hotel and retail entrance.

110 FWY NORTH EXIT 110 FWY SOUTH EXIT

OFFICE LOBBY ENTRACE HOTEL / RETAIL LOBBY

HIGH PUBLIC TRAFFIC AXIS

MIXED ENTRANCE

50FT FROM CORE

40FT FROM CORE

20FT FROM CORE

110 FWY NORTH EXIT 110 FWY SOUTH EXIT

S PAT I A L D E F I N I T I O N BETWEEN GRID SYSTEMS The diagram shows the geometries extrapolated from the different grid systems from across different levels from the core. Which in turn, competes to define the interior and exterior pockets of space and diverse shadow conditions

50 FT FROM CORE 40 FT FROM CORE

20 FT FROM CORE

SUMMER SHADOW

FALL SHADOW

WINTER SHADOW

SPRING SHADOW

ANNUAL SUN SHADOW

The diagram shows a simulation of different sunlight and shadow condition on the site across various noons throughout the year, the pockets and offsets of space provide diverse light and shadow condition throughout the tower and different programs. Allowing the occupants to experience better light through different times of the year.

780 FT

SITE SECTION

680 FT 630 FT

A site section clearly indicates the interesting proposition for the tower given its location between the border of low and high rise towers, offering inhabitants an exposure towards different vertical urban elements

650 FT

645 FT 625 FT 565 FT 565 FT

580FT

565 FT

420FT

- P23

OFFICE

LEVEL 4 : FLOOR HEIGHT: 17.5’ MECHANICAL

STRUCTURAL SYSTEMS

LEVEL 1 - 3 : FLOOR HEIGHT: 17.5’ HOTEL / OFFICE LOBBY +COMMERCIAL

15 FT EVELOPE TO COLUMN DISTANCE

The diagrams shows the different structural systems deployed in the tower with foor plate dimensions, core dimensions, column grid organization and Ibeams located within the tower.

The diagram also shows the core to footprint ratio which varies according to various elevation yet meeting the programatic requirements for each level.

STRUCTURAL ORGANIZATION : SYNTHESIZES STRUCTURES

20FT COLUMN TO COLUMN DISTANCE

STRUCTURAL ORGANIZATION : COLUMN ORGANIZATIONAL GRID

STRUC I - BEAM

5:33

2'

13

6

5'

10

4'

32

'

635'

CORE TO FOOTPRINT DIMENSIONS

- P24

DISTANCE OF FLOOR PLATE + CORE TO PERIMETER + FOOTPRINT TO CORE

18FT I - BEAM WIDTH :

CTURAL ORGANIZATION : MS ORGANIZATIONAL GRID

STRUCTURAL ORGANIZATION : CORE - COLUMN EQUDISTANCE GRID

Max Core to Perimeter 116' Core = 15.3% Max Core to Perimeter 109' 13' Core = 16.8% Max Core to Perimeter 109' 13' Core = 17.4% Max Core to Perimeter 109' 13' Core = 18.0% Max Core to Perimeter 100' 13' Core = 18.3% Max Core to Perimeter 100' Core = 18.3% Max Core to Perimeter 116' Core = 17.0% Max Core to Perimeter 119' Core = 16.6% Max Core to Perimeter 119' Core = 16.5% Max Core to Perimeter 119' Core = 16.4% Max Core to Perimeter 119' Core = 16.3% Max Core to Perimeter 119' Core = 16.1% Max Core to Perimeter 119' Core = 15.3% Max Core to Perimeter 119' Core = 15.2% Max Core to Perimeter 119' Core = 15.2% Max Core to Perimeter 119' Core = 15.3%

STRUCTURAL ORGANIZATION : AXON PLAN GRID DIAGRAM

48 47 46 45 44

20' 43 10' 42 10' 41 10' 40 10' 39 10' 38 10' 37 10' 36 10' 35 10' 34 10'

Max Core to Perimeter 119' 20' Core = 15.6% Max Core to Perimeter 119' 13' Core = 15.9% Max Core to Perimeter 119' 13' Core = 16.1% Max Core to Perimeter 119' 13' Core = 16.4% Max Core to Perimeter 119' 13' Core = 16.6% Max Core to Perimeter 119' 13' Core = 16.9% Max Core to Perimeter 119' 13' Core = 17.0% Max Core to Perimeter 119' 13' Core = 17.1% Max Core to Perimeter 119' 13' Core = 17.3% Max Core to Perimeter 117' 13' Core = 17.4% Max Core to Perimeter 106' 13' Core = 18.6% Max Core to Perimeter 104' 13' Core = 18.4% Max Core to Perimeter 107' 13' Core = 17.9% Max Core to Perimeter 113' 13' Core = 17.3% Max Core to Perimeter 119' 13' Core = 15.7% Max Core to Perimeter 116' 13' Core = 16.7% Max Core to Perimeter 119' 13' Core = 15.9% Max Core to Perimeter 118' 13' Core = 16.2% Max Core to Perimeter 116' 13' Core = 16.7% Max Core to Perimeter 116' 13' Core = 16.9% Max Core to Perimeter 116' 13' Core = 17.2% Max Core to Perimeter 116' 13' Core = 17.5% Max Core to Perimeter 116' 13' Core = 17.9% Max Core to Perimeter 116' 13' Core = 18.1% Max Core to Perimeter 116' 13' Core = 18.1% Max Core to Perimeter 000' 13' Core = 18.2% Max Core to Perimeter 116' 13' Core = 18.3% Max Core to Perimeter 115' 13' Core = 18.5% Max Core to Perimeter 104' 20' Core = 17.9% Max Core to Perimeter 104' 17.5' Core = 18.1% Max Core to Perimeter 104' 17.5' Core = 18.4% Max Core to Perimeter 104' 17.5' Core = 18.4%

33

32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6

STRUCTURAL SYSTEM : COLUMNS ORGANIZATION

STRUCTURAL SYSTEM : COLUMNS ORGANIZATION

5

4

3

2

1

- P25

LEVEL 33 : FLOOR HEIGHT: 17.5’ OFFICE MECHANICAL

LEVEL 34 - 44 : FLOOR HEIGHT: 10’ HOTEL

LEVEL 33 : FLOOR HEIGHT: 17.5’ OFFICE MECHANICAL

LEVEL 5 - 32 : FLOOR HEIGHT: 13’ OFFICE

LEVEL 4 : FLOOR HEIGHT: 17.5’ MECHANICAL

LEVEL 1 - 3 : FLOOR HEIGHT: 17.5’ HOTEL / OFFICE LOBBY +COMMERCIAL

15 FT EVELOPE TO COLUMN DISTANCE

20FT COLUMN TO COLUMN DISTANCE

STRUCTURAL ORGANIZATION : SYNTHESIZES STRUCTURES

STRUCTURAL ORGANIZATION : COLUMN ORGANIZATIONAL GRID

STRUCTURAL ORGANIZATION : I - BEAMS ORGANIZATIONAL GRID

5:33

2'

13

'

65

18FT I - BEAM WIDTH :

10

4'

32

'

Max Core to Perimeter 116' Core = 15.3% Max Core to Perimeter 109' 13' Core = 16.8% Max Core to Perimeter 109' 13' Core = 17.4% Max Core to Perimeter 109' 13' Core = 18.0% Max Core to Perimeter 100' 13' Core = 18.3%

- P26

Max Core to Perimeter 100' Core = 18.3% Max Core to Perimeter 116' Core = 17.0% Max Core to Perimeter 119' Core = 16.6% Max Core to Perimeter 119' Core = 16.5% Max Core to Perimeter 119' Core = 16.4% Max Core to Perimeter 119' Core = 16.3% Max Core to Perimeter 119'

48 47 46 45 44

20' 43 10' 42 10' 41 10' 40 10' 39 10' 38

1

2

3

4

5

A

B

C

D

structural systems

The diagram shows the various structural systems deployed over a synthesized grid and system across various intervals from the core. It also illustrates how the different systems meets in assemble to distribute and transfer the load of the tower.

STRUCTURAL ORGANIZATION : CORE - COLUMN EQUDISTANCE GRID

STRUCTURAL ORGANIZATION : AXON PLAN GRID DIAGRAM

- P27

- P28

- P29

- P30

- P31

- P32

- P33

BIRD’S EYE CHUNK

TECTONICS + MATERIALITY Vegetated Roof

Studio : 3A | Spring 2017 Instructor : Maxi Spina + David Ross In Collaboaration with: Hannah Yen, Nancy Ai, Ryan Yap

1

Precedence: Helvetia Headquarters

By Herzog de Meuron

Artemide Steel Body Lamp

The courses focuses on tectonics (predominantly building envelopes) and performance (largely consisting of technical, technological, cultural, and environmental dimensions). Working in groups throughout the semester, students analyze and document a precedent in order to formulate a series of hypotheses in an attempt to construct a number of interrelated tectonic conjectures. In scrutinizing building assemblies, the class will attempt to position construction analysis so as to produce both technical knowledge and critical awareness of embedded cultural habits.

The class will thus seek out an alternative understanding of the tectonics, one that not only mirrors the realm of construction ? materials, methods, sequences, tolerances, etc.- but also embraces architectural processes of expression, encompassing issues of geometry and technique; posture and character.

2

Exterior Facade: Steel Window Framing System Steel Columns: Primary Structure Framed Polyester Blinds: Adjustable Sun Shading System

Steel Handrails

Z 5 ft

1 ft 1 ft

1 ft

Y X

Precedent Study: Helvetia Headquarters Envelope System: Structural Steel Columns + Panelized Window Frame

- P34

1

Planting Lightweight Engineered Soil

1

Drainage Layer

Planting

Root Barrier and Insulation Lightweight Engineered Soil Waterproof Membrane/ Moisture Retention Layer Drainage Layer Metal Flashing Root Barrier and Insulation Steel Roof Deck Waterproof Membrane/ Moisture Retention Layer Metal Flashing Steel Roof Deck

Ceiling Panel Steel I-Beam

Ceiling Panel Steel I-Beam

Z

Z

1 ft 1 ft

1 ft

2

2

1 ft

1 ft 1 ft

Y X

Y X

Carpet Galvanized Steel Pedastals

Carpet Steel Cementitious Core Planel

Galvanized Steel Pedastals Electric + Cable Tray Housing

Steel Cementitious Core Planel

Space for HVAC Supply Air Plenum and Return Duct

Electric + Cable Tray Housing

Triple Chamber Profiles for Max Insulation

Stainless Steel Flashing

Space for HVAC Supply Air Plenum and ReturnStainless Duct Steel Flashing

Galvanised Steel Reinforcement Triple Chamber Profiles for Max Insulation Thermal Insulation Galvanised Steel Reinforcement Steel Deck Steel I-Beam

PVCu External Window Cill

Thermal Insulation Steel Deck Steel I-Beam

Solar Control Shades (Exterior)PVCu External Window Cill Roller Shading Device (Interior) Solar Control Shades (Exterior)

Roller Shading Device (Interior)

Ceiling Panel Exterior Casing

Ceiling Panel Exterior Casing

Triple-Pane Insulating Glass Water-Proof Polyster Blend Fabric

Triple-Pane Insulating Glass Water-Proof Polyster Blend Fabric

Tectonics AS3033 Nancy Ai, Hyu Lim, Ryan Yap, Hannah Yen

Tec Nancy Ai, Hyu Lim, Ryan Ya

- P35

STRUCTURAL SYSTEMS

structural systems

The diagram shows the various layers of structural systems deployed for the Helvetia Headquarters which includes several layers such as horizontal, vertical columns and beams, glazing frame and railings and the floor package.

6

5

4

3

2

1

Z

2 ft

2 ft Y

- P36

Precedent Study: Helvetia Headquarters Envelope System: Structural Steel Columns + Panelized Window Frame

2 ft X

3

6

RAILING SYSTEM

Deployment : Lateral Array Number of Units : 45 Material : Steel

Deployment : Perimeter Number of Units : 288 Material : Steel

I - Beams were deployed along the short side of the Helvetia Headquartes to work in conjunction with the columns to provide optimum structural ridgitity. An array of 15 I Beams were used on each levels across 4 levels followed by the concrete and steel decking layered system.

The railings add a finishing touch to the enevelope stuctures / Facade, It braces all 144 window panels and units across two separate railings.

5

2

ENVELOPE STRUCTURAL SYSTEM

STEEL COLUMNS SYSTEM Deployment : Vertical Perimeter Number of Units : 76 Material : Steel

Deployment : Perimeter Number of Units : 144 Material : Steel

Pairs of columns were used instead of one to work seamlessly with the aesthetics of the facade. The steel columns not only play a structural role in the Helvetia headquarters but it also represents and uphold the system of the facade. It is distributed along the perimeter to provide the Helvetia Headquarters and open and undisrupted office floor plan

The enveloping structure which is also the facade of the Helvetia Headquarters comprises of 144 window units which works collectively to brace the interior structures. The window panels then have railings added which acts as the bracing mechanism for the envelope.

4

I - BEAMS

CONCRETE WITH STEEL DECKING FLOOR PLATE SYSTEM 1

Spacers Deployment : Grid Arrangement Floor Cladding Deployment : Stacked Steel Decking : Stacked Number of Spacers : 4,500 Number of Steel decking : 10 Number of Floor Cladding : 4 Material : Steel

FOUNDATION Deployment : Base Material : Steel The foundation piece is the first to be layed on the ground and is constructed as a bold and unified form mainly out of steel. It rests on a thicker coolumn deployed into the ground

Floor spacers were used to provide the helvetiaa headquarters more flexibility in utility, allowing the gap between the floor cladding and the structuresa heating DOUBLE COLUMN The Helvetia Headquarters uses a unique configuration of a double column setting rather than the typical single columnto maintain its aesthetic quality even in its interior and for a better distribution of load

SINGLE COLUMN A Single column has a less efficient load absorbsion if attemping to flush the railing towards the edge of the glass panel STEEL COLUMN ABSORBED LOAD

Layered floor plate Concrete with steel decking

Floor spacers

First layer I - beams

Tectonics AS3 Nancy Ai, Hyu Lim, Ryan Yap, Hannah

- P37

ENVIRONMENTAL

PPD

W INT ER GL AZING C O M F O RT A N A LY S I S Due to its location in St.Gallen and its cold weather conditions found in Switzerland. Heat insulation is crucial to the sustainability of the building towards its environment. After some analysis, it is assumed that the Helvetia Headquarters uses a triple paned glass system to insulate and trap heat within the building in the cold climate. A simulation and analysis was ran to produce the diagram on the right.

PPD

10

10

8

8

6

6

4

T RI PL E PA N E D G L A S S P A NEL S

2

Triple paned glass panels were assumed to be used by the Helvetia Headquarters to help insulate heat better in the harsh cold climate condition found in switzerland. The diagram shows a simulation of heat insulation efficiency with a triple paned glass panel assumed to put the window panes within the window UV rating of 0.3 - 0.8

0 -2 -6

-4

-8 -10

4 2 0 -2 -6

-4

-8 -10

SU M M ER RAD IAT I O N WI TH R O LLE R B LI N D S The Helvetia Headquarters uses roller blinds to manually control heat and light penetration into the offices. Some radiation analysis and simulation were ran to illustrate the different conditions with the blinds up and down during the summer season

Wh/m2 852.00<=

766.80

766.80

681.60

681.60

596.40 511.20 426.00 340.80 255.60 170.40

RA DI A T I ON WI T H BLIND S The Helvetia Headquarters was designed with manual roller blinds to control light and heat emission towards the interior of the building. A simulation was run to provide an analysis on the heat contrubuted with the roller blinds rolled down.

596.40 511.20 426.00 340.80 255.60 170.40

85.20

85.20

<=0.00

<=0.00

Precedent Study: Helvetia Headquarters Envelope System: Structural Steel Columns + Panelized Window Frame

- P38

Wh/m2

852.00<=

PPD PPD

10

S

8

10

6

8

4

6

2

4

0

2

-2

0

-4

-2

-6

S I N G LE PA N E D G L A SS PA N E L S The diagram on the a E D G L A SS PA N E L S SI Nleft G Lshows E PA N simulation of a single paned glass The diagram on the left shows a panel instead of a triple paned glass panel. It shows asimulation PPD of 4-8of a single paned glass panel instead of a triple paned glass towards the window area indicating It shows poor insulation ofpanel. heat which is a PPD of 4-8 towards the crucial to an environment likewindow Swit- area indicating poor ainsulation of heat which is zerland. Thus proving single paned crucial to an environment like Switglass panel system far less efficient zerland.

Thus proving a single paned that the triple glass panels glass panel system far less efficient that the triple glass panels

-6

-4 -8 -10

-8 -10

Shadow Diagram - Latitude : 51.15 Annual Sun, 24 Hours Shadow Diagram - Latitude : 51.15 St. Gallen, Switzerland Annual Sun, 24 Hours St. Gallen, Switzerland

m/s 14.90< m/s 13.41

14.90<

11.92

13.41

10.43

11.92

8.94

10.43

7.45

8.94

5.96

7.45

4.47

5.96

2.98

4.47

1.49

2.98

<0.00

1.49 <0.00

Wh/m2 Wh/m2

=

80

852.00<=

60

766.80

40

681.60

20

596.40

00

511.20

80

426.00

60

340.80

40

255.60

20

170.40

00

Wind Rose Diagram - Latitude : 51.15 Calm for 6.88% of the time = 603 Hours Wind Rose Diagram - Latitude : 51.15 St. Gallen, Switzerland Calm for 6.88% of the time = 603 Hours St. Gallen, Switzerland R A D I A TI ON WI T HOUT BL I N DS The Helvetia Headquarters RA DI A T Iwas ON WI T HOUT BL I N DS designed with manual roller blinds to The Helvetia control light and heat emissionHeadquarters was designed with manual towards the interior of the building.

A roller blinds to control light and simulation was run to provide an heat emission towards the interior analysis on the heat contrubuted withof the building. A simulation the roller blinds rolled up. was run to provide an analysis on the heat contrubuted with the roller blinds rolled up.

Wh/m2 Wh/m2 852.00<= 766.80

852.00<

681.60

766.80

596.40

681.60

85.20

511.20

596.40

<=0.00

426.00

511.20

340.80

426.00

255.60

340.80

170.40

255.60

85.20

170.40

<=0.00

85.20

<=0.00

Sun - Path Diagram - Latitude : 51.15 Hourly Data Global Horizontal Radiation Wh/m2 Sun - Path Diagram - Latitude : 51.15 St. Gallen, Switzerland Hourly Data Global Horizontal Radiation Wh/m2 St. Gallen, Switzerland

Tectonics AS3033 Nancy Ai, Hyu Lim, Ryan Yap, Hannah Yen Tectonics A Nancy Ai, Hyu Lim, Ryan Yap, Hann

- P39

EE OPTIONS

OPTION 1

OPTION 2

ITERATIONS + SIMULATION

Angled Window Frame System

Inverted Window Modules: Windows able to open for ventilation

For this assignment of the project, The prompt was to iterate several choices and suggestions for better enegry efficiency based on the analysis and simulation done on the initial Helvetia Headquarters. The prompt also required a considerShadow Diagram ation based on a geological relocation and aSection new understanding based on its solar path.

Description: In This iteration, the window panes has its individual rotations multiplied to accentuate the three dimensionality of the overal surface, producing a tactile quality of the facade on a global scale. Though this iteration accentuates the tactile quality of the Helvetia headquarters,it is the least energy efficient iteration Pros - Simple and subtle configuration - Initial kaleisoscopic effect is kept

Wh/m2 852.00<= 766.80 681.60 596.40 511.20 426.00 340.80 255.60 170.40 85.20

Shadow Diagram Section

Description: In this iteration, the facade has been inverted and the interior elements such as the railings and columns are shown on the exterior. The intermitting space between the exterior frame acts as a buffer and a brise soleil to prevent direct heat penetration to its interior.Thus, proving the most energy efficient among the rest. However it loses its aesthetics quality of the pivoted and alternating frames.

<=0.00

Pros - Great energy efficiency - Angle of window panels are difficult to notice

Cons - Least energy efficient Winter Analysis

Steel Columns

Summer Analysis

Winter Analysis

681.60 596.40 511.20 426.00 340.80 255.60 170.40 85.20 <=0.00

Summer Analysis

Wh/m2

Wh/m2

Wh/m2

852.00<=

766.80

766.80

852.00<=

681.60

681.60

766.80

596.40

596.40

681.60

511.20

511.20

596.40

426.00

426.00

511.20

340.80

340.80

426.00

255.60

255.60

340.80

170.40

170.40

255.60

85.20

85.20

170.40

<=0.00

<=0.00

85.20 <=0.00

- P40

766.80

Cons - Requires more maintenance

852.00<=

nt Study: Helvetia Headquarters e System: Structural Steel Columns + Panelized Window Frame

Wh/m2 852.00<=

Wh/m2 852.00<= 766.80 681.60 596.40 511.20 426.00 340.80 255.60 170.40 85.20 <=0.00

OPTION 2

OPTION 3

Inverted Window Modules: Windows able to open for ventilation

Indented Window Facade

Steel Columns New Brise Soleil System Shadow Diagram Section

Description: In this iteration, the facade has been inverted and the interior elements such as the railings and columns are shown on the exterior. The intermitting space between the exterior frame acts as a buffer and a brise soleil to prevent direct heat penetration to its interior.Thus, proving the most energy efficient among the rest. However it loses its aesthetics quality of the pivoted and alternating frames.

Pros - Great energy efficiency - Angle of window panels are difficult to notice

Wh/m2 Wh/m2 852.00<= 766.80 681.60 596.40 511.20 426.00 340.80 255.60 170.40

Description: in this iteration, the columns are extruded outwards with a louver which cuts across each level, bracing the building. The louvers are placed within a distant from the window allowing some sunlight between. Though this iteration maybe relatively energy efficient, this design requires more maintainence and engineering.

Pros - Relatively energy efficient

85.20 <=0.00

852.00<= 766.80 681.60 596.40 511.20 426.00 340.80 255.60 170.40 85.20 <=0.00

Cons - Requires more maintenance - Total loss of initial aesthetics

Cons - Requires more maintenance Winter Analysis

Shadow Diagram Section

Summer Analysis

Winter Analysis

Summer Analysis

Wh/m2

Wh/m2 Wh/m2 852.00<= 766.80 681.60 596.40 511.20 426.00 340.80 255.60 170.40 85.20 <=0.00

Wh/m2

852.00<=

852.00<=

852.00<=

766.80

766.80

766.80

681.60

681.60

681.60

596.40

596.40

596.40

511.20

511.20

511.20

426.00

426.00

426.00

340.80

340.80

255.60

255.60

255.60

170.40

170.40

170.40

85.20

85.20

<=0.00

<=0.00

85.20

340.80

<=0.00

Tectonics AS303 Nancy Ai, Hyu Lim, Ryan Yap, Hannah Ye

- P41

CHOSEN SOLUTION

1

FINAL DESIGN Vegetated Roof

The diagram shows the developed tectonics for the chosen final iteration which features and adjustable window which collapses to open. This allows the occupants to control tempreture and sunlight better as well as natural ventillation. The propsed concept also preserves the aesthetics of the Helvetia Headquarters to a certain degree

1

2

2

Exterior Facade: Steel Window Framing System

Air Chamber

Steel Slab Structure Steel Columns: Primary Structure

Precedent Study: Helvetia Headquarters Envelope System: Structural Steel Columns + Panelized Window Frame

- P42

Winter Air Flow

Winter Analysis

1 Wh/m2 852.00<= 766.80

Planting Lightweight Engineered Soil Drainage Layer Root Barrier and Insulation Waterproof Membrane/ Moisture Retention Layer Metal Flashing Steel Roof Deck Ceiling Panel Outer Frame Stainless Steel Flashing

681.60 596.40 511.20 426.00 340.80 255.60 170.40 85.20 <=0.00

Shadow Diagram Section

Interior Analysis

Wh/m2 852.00<= 766.80 681.60 596.40

2

511.20 426.00 340.80 255.60 170.40 85.20 <=0.00

Steel Columns Steel Frame External Pane: Low E Glass

Summer Air Flow

Summer Analysis

Internal PaneDouble-Pane Insulating Glass Wh/m2 852.00<= 766.80 681.60 596.40

Pivot Bar

511.20 426.00 340.80 255.60

Tilt Restrictor

170.40 85.20 <=0.00

Weatherpile Steel Cementitious Core Panel Meeting Rails Space for HVAC Supply Air Plenum and Return Duct Warm Edge Spacer Bars Triple Chamber Profiles for Max Insulation Galvanized Steel Pedastals Thermal Reinforcing Steel Deck GI Reinforcement Triple Chamber Profiles for Max Insulation PVCu External Window Sill

Description: In this iteration, The facade are rotated even further in reference to iteration two. Addition spacing is also added between eachwindow panes and they have a much wider space between each glazing of the individual pane, creating an insulated chamber within each channel. the result provides the interior more energy efficiency while accentuating more three dimensionality with a wider gap between the window panes

Annual Analysis

Wh/m2 852.00<= 766.80 681.60 596.40 511.20 426.00 340.80 255.60 170.40

Pros - Great energy efficiency - Accentuated exterior design - Overall initial aesthetics are kept including the gaping window framing and kaleidoscopic qualities - Mechanical and natural ventilation

85.20 <=0.00

Cons - Maintenance within the chambers

Tectonics AS30 Nancy Ai, Hyu Lim, Ryan Yap, Hannah Y

- P43

- P44

MAterial cinematheque Objects to the world Studio : 2B | Spring 2016 Instructor : Jacklin Hah Bloom Project by : Eron Kumar + Hyu Lim Hengyu Overview : In this final assignment the objective was to develop a cinematheque based off the introduction of two separate forms developed from the previous exercise with the implementation of material, texture and colors carefully articulated towards synchrony and juxtaposition.

Prompt: The prompt was to design a 25,000 sq feet cinematheque with two theaters and several programs including seminar rooms for film review and discussion, offices, concession, film and bookstore and more. The project comprises of forms and materials developed individually from previous exercise

- P45

A

A SOUTH BROADWAY

SOUTH BROADWAY

4

SYNTHESIS.

The plan of the cinematheque shows the interactions and relationships established across the two different theaters which were developed from the previous exercise based off an individual projects, the plans also illustrates certain tensions between each individual forms and programs which were resolved through a unique circulation which wraps and oscillates back and forth the two separate volumes.

4

1

1

5

5

3

3 2

B

B

B

B

LEVEL ONE

LEVEL ONE

L

1. TICKETING COUNTER 2. CAFE & BISTRO 3. KITCHEN 4. THEATER ONE 5.RESTROOM

1. TICKETING COUNTER 2. CAFE & BISTRO 3. KITCHEN 4. THEATER ONE 5.RESTROOM

6 7 8 9 1 1

A

- P46

2

A

A

A

SOUTH BROADWAY

A

SOUTH BROADWAY

SOUTH BROADWAY

SOUTH BROADWAY

13

11

13

11 10

10 9

9

8

6

8

6

5

12

7

12

7

B

B

EVEL TWO

6. CONCESSION 7. FILM & BOOKSTORE 8. OFFICE 9. BACKSTAGE BATHROOM 10. GREEN ROOM 11. STORAGE

A

B

B

B

LEVEL THREE

LEVEL THREE

12. THEATER TWO 13. PROJECTION ROOM

12. THEATER TWO 13. PROJECTION ROOM

A

A

- P47

B

9

2

L3

8 1

L2 7

3

L1

4

5

6

B SECTION A

1. THEATER ONE 2. PROJECTION ROOM 1 3. BACKSTAGE STORAGE 4. THEATER STORAGE 5. TICKETING COUNTER 6. CAFE + BISTRO 7. FILM AND BOOKSTORE 8.THEATER TWO 9. PROJECTION ROOM 2

- P48

A

A

A

8

8

7

8

7

7

6

6

5

4

3

2

6

5

4

3

2

5

4

3

2

1

1

1

A

A

A

SECTION B

SECTION B

SECTION B

1. THEATER ONE 2. PROJECTION ROOM 1 3. BACKSTAGE STORAGE 4. THEATER STORAGE 5. TICKETING COUNTER 6. CAFE + BISTRO 7. FILM AND BOOKSTORE 8.THEATER TWO 9. PROJECTION ROOM 2

1. THEATER ONE 2. PROJECTION ROOM 1 3. BACKSTAGE STORAGE 4. THEATER STORAGE 5. TICKETING COUNTER 6. CAFE + BISTRO 7. FILM AND BOOKSTORE 8.THEATER TWO 9. PROJECTION ROOM 2

1. THEATER ONE 2. PROJECTION ROOM 1 3. BACKSTAGE STORAGE 4. THEATER STORAGE 5. TICKETING COUNTER 6. CAFE + BISTRO 7. FILM AND BOOKSTORE 8.THEATER TWO 9. PROJECTION ROOM 2

- P49

79.11°

3.27”

3.9”

79.11° 76.57° 86.65° 66.25°

69.95°

96.53°

3.27”

5”

72.13° 69.14° 54.11°

3.27”

79.11°

FAUX WHITE WOOD

78.95° 3.27”

87.95° 126.32° 132.95° 113.95°

79.11° 74.21°

35.44° 13.71° 27.65° 37.34°

5.05“

53.16°

3.9”

33.17° 101.31°

1.31“

U N C A N N Y L E F T.

101.31° 103.31° 58.06°

1.31“ 27.70° 75.61°

102.85° 5.05“

5”

39.82°

76.96° 19.09° 98.53°

3.27”

- P50

The image on the left shows the exterior of the materialised box with the applied materials of the pink plush material extrpolated from the Barabara D’ Arcy precedence with the Faux white wood extrapolated from the santa monica house by Frank Ghery

3.27”

3.9”

79.11° 76.57° 86.65° 66.25°

69.95°

96.53°

5”

72.13° 69.14° 54.11° 79.11°

3.27”

3.27” FAUX WHITE WOOD

78.95°

3.27”

87.95° 126.32° 132.95° 113.95°

79.11° 74.21°

35.44° 13.71° 27.65° 37.34°

°11.211 5.05“

53.16°

U N C A N N Y R I G H T.

3.9”

33.17° 101.31°

1.31“

101.31° 103.31° 58.06° 1.31“

The image on the right shows the interior of the materialised box with the applied materials of the pink plush material extrpolated from the Barabara D’ Arcy precedence with the Faux white wood extrapolated from the santa monica house by Frank Ghery

°07.72 °16.57

102.85° 5.05“

”5

39.82°

76.96° 19.09° 98.53°

3.27”

PLUSH PINK MATERIAL

VIA BARBARA D’ARCY’S XANADU ROOM

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MATERIAL STUDIES

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MATERIALS : • • • • •

1X 1X 1X 1X 1X

MATERIALS :

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1X 1X 1X 1X 1X

Metal rule Laser cutter Can clear acrylic spray paint 1 Ply Pink colored paper (18” X 18”) 4 Ply White museum board (32” X 36”)

ASSEMBLY :

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Exploration wood texture, Irony and Exaggerating MATERIALS :

Metal rule Mathematical compass Can clear acrylic spray paint 1 Ply Pink colored paper (18” X 18”) 4 Ply White museum board (32” X 36”)

ASSEMBLY :

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“Pink plush material”

“Tessellating Gloss Material”

“Layered colors material”

Cut a 7 X 7 inch Square out of the 4 Ply white board for the base of the wraps Construct two circles on a museum board, 2 inch wide and 3 inch wide

on a verticle line leave a gap of 0.2 inch between the circles Offset an outline of 0.1 Inch for both circles construct another circle from the midpoint with a 1.5 inch radius for both the 2 inch and 3 inch model construct a rectangle 1 Inch below the horizontal line which cuts acrosss the midpoint of both circles Subtract the remainder between the inner and outer circles by cutting it out

Elevate the layout above the pink sheet with a 1 Inch border of 4 play museum board

Once done the white lay should cast a unique shadow above the pink sheet

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1X Pencil 1X Can clear acrylic spray paint 1X 1 Ply Pink colored paper (18” X 18”) 1X 4 Ply White museum board (32” X 36”)

ASSEMBLY :

Cut a 7X7 inch piece out of the white museum board for the base Using the repetition of the Barbara D ‘arcy sample in a autocad file, separate the geometries to ensure it replicates the design with intermitting white and pink forms Lazer cut the pink geometries on the pink sheet of colored paper Laser cut the white geometries on the white sheet of musuem board Construct all 10 individual layers before laying them on the white board Contruct each piece with intermitting white pieces followed with pink interior With all 10 Pieces, lay them out in intervals of the 2 different forms Once done coat the tessalated material with acrylic clear paint to give it a glossy finish

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Cut a 7 X 7 inch Square out of the 4 Ply white board for the base of the wraps Roll the sheet of pink colored papare until it begins to warp inwards Cut the pink colored paper by 8 X 7 inches. mark and divide to 4 equal parts Divide and mark the 7X7 board in verticle 4 equal parts.

Align each part of the marked colored papre with the musuem board base with each length of colored division equal to 2 In and base division in 1.75 This should result in a repetition of curved surfaces.

SOFTWARE : • •

ADOBE illustrator AutoCAD

“Scaled up artificial wood grains with texture”

“Faux white wood”

MATERIALS : • • • •

1X 4 Ply Museum boards (18” X 18”) 1X Oak Wood sample (7X7X7) 1X Can 3M spray adhesive Laser Cutter

ASSEMBLY : • • • • • • • •

Find a sample of an oak wood in the dimension of at least 7X7X7 Slice the wood sample in a section which reveals the wood grain perpendicular Photograph the wood grain and import it to illustrator Use image trace to extract vectors from the wood grains Export the grain vectors in .AI format Open the gain vectors in AutoCAD and lay them out on a 7X7 sheet After laying out within the 7X7 sheet, trim the excess wood grains Once done export it to a laser cutter to engrave the wood grains

SOFTWARE : • •

ADOBE illustrator AutoCAD

“Contrasted artificial wood grains with texture”

MATERIALS : • • • •

1X 4 Ply Museum boards (18” X 18”) 1X Oak Wood sample (7X7X7) 1X Can 3M spray adhesive Laser Cutter

ASSEMBLY : • • • • • • • • • •

SOFTWARE : • •

MATERIALS : •

1X 4 Ply White Museum boards (18” X 18”) (18” X 18”)

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Find a sample of an oak wood in the dimension of at least 7X7X7 Slice the wood sample in a section which reveals the wood grain perpendicular Photograph the wood grain and import it to illustrator Use image trace to extract vectors from the wood grains Export the grain vectors in .AI format Open the gain vectors in AutoCAD and lay them out on a 7X7 sheet After laying out within the 7X7 sheet, trim the excess wood grains Once done export it to a laser cutter to engrave the wood grains on the white museum board Repeat the same process except set it to cut on another black museum board instead Select intermitting contour grains out of the cut pieces and lay them above the white engraved pc

Find a sample of an oak wood in the dimension of at least 7X7X7 • 1X 4 Ply Black Museum boards Slice the wood sample in a section which reveals the wood grain perpendicular Photograph the wood grain and import it to illustrator • 1X Oak Wood sample (7X7X7) Use image trace to extract vectors from the wood grains • 1X Can 3M spray adhesive Export the grain vectors in .AI format Open the gain vectors in AutoCAD and lay them out on a 7X7 sheet • Laser Cutter After laying out within the 7X7 sheet, zoom in 300%, trim the excess wood grains Once done export it to a laser cutter to engrave the wood grains Repeat the same process except set it to cut on another piece instead Select intermitting contour grains out of the cut pieces and lay them above the engraved ASSEMBLYpc:

ADOBE illustrator AutoCAD

SOFTWARE : • •

ADOBE illustrator AutoCAD

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Exercise one

Exercise one begins with extrapolating geometries from the box through various actions like folding and unrolling, the geomtries are establish by projecting shadowns and apertures as a result of the folds and are used to introduct the materials in the latter part of the assignment.

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79.11°

3.27”

3.9”

79.11° 76.57° 86.65° 66.25°

69.95°

96.53°

3.27”

3.27”

5”

72.13° 69.14° 54.11° 79.11°

MATERIAL ONE 0.03”

78.95° 3.27”

87.95° 126.32° 132.95° 113.95°

79.11° 74.21°

35.44° 13.71° 27.65° 37.34°

5.05“

53.16°

3.9”

33.17° 101.31°

1.31“

101.31° 103.31° 58.06°

1.31“ 27.70° 75.61°

102.85° 5.05“

5”

39.82°

76.96° 19.09° 98.53°

3.27”

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BOYS & GIRLS CLUB, HOLLYWOOD,CA

FORMWORKS,SITES AND CONTEXTS. Studio : 2A | Fall 2016 Instructor : John Southern Overview : In this final assignment the objective was to develop a boys and girls club based on geometries and forms extracted from the previous assignment. The forms are then calibrated carefully and meticulously by certain conditions from the site, mainly focusing on an indepth exploration towards understanding new relationships established between the figure and the site.

Prompt: The prompt was to design a 56,000 sq feet boys and girls club located in hollywood Los Angeles which includes various programs such as swimming pool, game rooms, career center, library, apartments and art center Introduction: Taxonomies of various forms constructed by posturizing stuffed animals were used to extrapolate forms as part of the prescent study. Theses were then reconfigured to fall in line with site specific conditions.

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SYNTHESIS.

The form leverages on several systems which are introduced and synthesized across several different methods, layers of systems which plays a part as a response to the site, program and forms are introduced and carefully orchestrated towards a unified form. This drawings shows an exploded axonometric of the form and identifying the several modular systems of organization and how it orchestrates holistically

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HEY GIRL, WHATS THE PLAN?

Apart from programmatic deployments, the plans shows the relationship among the different geometries which relates to one another as an axis of for spatial organization across several different levels. The plan uses a variety of techniques to organize and partition spaces for the programs.

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LEVEL ONE - P63

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H E Y B O Y, C U T I T O U T.

The section shows the relationship between positive and negative spaces which were carefully subtracted to create programs such as an outdoor auditorium and swimming pools. the geometries were subtracted at various intermitting angles to accommodate the geometrical requirements of certain programs

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S I T E A N A LY S I S .

These hybrid plan + section drawings were created to show the three - dimensional forms of the plan which was an obstacle due to the nature of the different floor plans. The overall form was not part of any extrusion process which made the layers difficult to read from individual plans and sections. Hence, the plans and sections are incorporated to show a visual reference to where the cuts are made and in overall, portray a clear and succint visual description of the project. The thicker reference lines also references the top layer of the museum while the thinner projection line references the bottom layer. The rotation of the plans + section also gave a clearer illustration of the form.

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DS001 - P74 | LACA - P.010

â&#x20AC;&#x153;los angeles center for architectureâ&#x20AC;? a design based on subtle precedences.

Studio : 1B | Spring 2016 Instructor : David Freeland Overview : In this final assignment the objective was to develop spaces from precedential geometries , while using these precedential geometries as an organizational tool. We were to create a rich and intricate plan , implementing multiple layers of systems and principles found in its precedence. However, these systems and principles may begin to adapt towards the spatial requirements for developing these inhabitable spaces.

Prompt: The prompt was to design a museum for â&#x20AC;&#x153;Los Angeles Center of Architecture featuring eight main programs, exhibition space, lecture hall, a lobby, a cafe, a bookshop, an office, WC and a storage space within a 75 x 75 feet boundary.

Introduction: Some key principles found in the Hagia Sophia includes a use of local and global symmetry, These principles are carried forward to this assignment as tools to organize and articulate the final plans.

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conceptual diagrams

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Field extraction :

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re-intergration of frame :

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site calibration :

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l ay e r d i s t r i b u t i o n :

The plan is extracted from the field, aimed at capturing organizational behaviour and characteristics of the field which will be used as a tool to help define and articulate the final plan. Ideally it could be seen as developing spaces from a former geometries.

The frames begins to take on the same role as it did in the field, as a transitional structure between two components of the plan which begins to divide during the layer distribution(below). acting as a key transitional space, an axis for the plan.

FRAME

75’x75’

L2

The plan is then calibrated into the site boundary of 75’ X 75’ , using the the field to establish a grid to expand and contract simultanously to intergrate the programs while retaining certain mathematical proportions of aesthetics.

While calibrating to the site, the plan is then organized into seprate layers vertically, offering the programs a different variety of floor plan catered to its individual requirements. entirely wrapping a three dimensional courtyard. while using the frame as a connecting structure between the cantilevering top chuck to the bottom chunk.

circulation diagram : L1

DS001 | LACA - P.012 - P76

The two chunks circulate in opposite direction from the key frame, when layered it balances out the movement within the building. The exit from level 2 also reaches to a landing which accesses the outdoor lecture hall and patio on the top deck of level one.

CONCEPTS & strategies

LACA PLAN+ PROGRAM DIAGRAM

The overall concept revolves around strategically mapping the programs into the plan while the plan simulataously shapes itself towards its own form to accomodate to the programs ,establishing an inter - dependent relationship between both plan and programs while using the field is used as an organizational tool of shaping to carve out walls to divide, sub - divide and redirect circulation.

In this project, the plan is seperated into two seperate chunks, allocating retail and archive on the first level, while allocating the exhibition space and office on the second level using the bottom chunk as a pedastal for the exhibition space. Featuring mostly glazed panels, it projects the exhibits furthur from an elevated point. The bottom chunk allocates the retail space for public access and cafe being accessible from the street and the courtyard. Giving the courtyard cafe an initimate setting with chunk wrapping around it. The plan is also developed in a way to form a three dimensional courtyard, allowing the courtyard to be seen from different elevations.

EXHIBIT

ARCHIVE

KITCHEN

CAFE +

Program Analysis: The programs which include diverse spatial requirements, are categorized using a graphical analysis W Cwith the aid to intergrate them into the plans which begins to alter towards the program requirements of the organizational field.

W C

LECTURE HALL/EVENT (OUTDOOR)

W C

LOBBY

STORES

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OFFICE

P R O G R A M I N T E R G R AT I O N & A N A LY S I S

BOOKSHOP

EXHIBIT

ARCHIVE

KITCHEN

CAFE +

LECTURE HALL/EVENT (OUTDOOR)

W C

W C LOBBY

OFFICE +STORES

OFFICE

PUBLIC SPACE BOOKSHOP RESTROOM CAFE + KITCHEN LECTURE HALL LOBY EXHIBITION SPACES

2500 SF

2500 SF

1000 SF

1000 SF

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500 SF

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STORAGE PRIVATE SPACE : OFFICE ARCHIVES

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Retail access By orienting the retail space towards the intersection, it takes advantage of the existing traffic which densifies at the intersection.

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courtyard access tion space. Featuring mostly glazed panels, it projects the exhibits furthur from an elevated point. The bottom chunk allocates the retail space for publ

s i t e c o n c e p t.

The museum developed with several different components which each plays a prominent role in its individual orientation. some segments of the museum are oriented to utilize pre existing traffic and circulation of the street for retail advantages while some segment aims at displaying the interior content of the museum.

Pedastal: The exhibition space is located at the top chunk using the archive as a kind of pedastal, allowing the exhibits to be seen through the glazed panels , this open display concept allows the exhibits to be seen from a distance due to its elevation. The top layer is projected towards the intersection where there is a higher traffic, of people and vehicals , allowing the display to be seen from a more dense location.

Events / outdoor lecture hall: The events and outdoor lecture space are also projected towards the intersection from an elevated view, Displaying certain commotions in an open space while seperated signifcantly apart from the exhibition space, allowing the exhibition space to remain a more quiete environment.

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PLAN:ONE 1. A R C H I V E 2. B O O K S H O P 3.C A F E + K I T C H E N 4. L O B B Y 5. S T O R E

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PLAN:ONEHALF 9. OUTDOOR : LECTURE SPACE

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HYBRID DRAWINGS.

These hybrid plan + section drawings were created to show the three - dimensional forms of the plan which was an obstacle due to the nature of the different floor plans. The overall form was not part of any extrusion process which made the layers difficult to read from individual plans and sections. Hence, the plans and sections are incorporated to show a visual reference to where the cuts are made and in overall, portray a clear and succint visual description of the project. The thicker reference lines also references the top layer of the museum while the thinner projection line references the bottom layer. The rotation of the plans + section also gave a clearer illustration of the form.

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PLAN:TWO 6. E X H I B I T I O N S P A C E 7. O F F I C E 8. W C 9. L E C T U R E H A L L 10. C O U R T Y A R D

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PLAN:ONE 1. A R C H I V E 2. B O O K S H O P 3.C A F E + K I T C H E N 4. L O B B Y 5. S T O R E

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PLAN:TWO 6. E X H I B I T I O N S P A C E 7. O F F I C E 8. W C 9. L E C T U R E H A L L 10. C O U R T Y A R D

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1/4 inch scale Section model Exhibition space

WC

Patio + lecture

Archive

Exhibition space

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figures forms from precedence

The figures were developed from the poche of the Hagia Sophia, Extrapolating new meaning and forms from the former two - dimensional silhoutte , in this instance, the form is developed using principles of local and global symmetry as found in the Hagia Sophia. It also begins to created new experimental shapes fron other axis from the creation og the form.

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figures : 2 forms from precedence

The prompt leading on to the the second figure was based on a transformation from the first figure while re - intergrating a secondary degree of systems and principle on the first figure. While the first figure experiments modes of addition and configuration of geometries, this second figure experiments with the subtraction of forms, ultimately subtracting stacked components to achieve a sub - â&#x20AC;&#x153;unifiedâ&#x20AC;? form.

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frames a mediator between figures

The frames are idealised as a mediator between figures, engaging the figure from a rather ambigious degree with no implication of a defined positive or negative space.

It can be seen as spatial possibilities and option for expansion beyond the figures.

However, the frames remains mostly as a kind of dialogue between figures. In this instance, the frames are created from the void between two figures.

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frames : 2 a mediator between figures

The second frame was Developed using a different configuration, where two different figures are oriented in a symmetrical manner. projection lines between the void of the figures are drawn to create the frames. capturing the transition between one figure to another.

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field a modulation process

The final segment of the assignment â&#x20AC;&#x153;Fieldâ&#x20AC;? encompasses the collaboration of the figures and the frames , experimenting ways where both realms of figures and frames begin to engage in a kind of implied organization between them and begins to expand in a systematic kind of network. In this assignment, the field results in a configuration where frames operate as a dialogue between figures, and creates a kind of structural inter-dependency as seen in the photograph. This unique configuration then begins to develop the field in a three - dimensional aspect rather than a two dimensional one.

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Iterations (Radial Field) : The drawings illustrate another iteration of a field developed using a radial system, similarly to the Hagia Sophia, the figures are deployed in intervals using the rotation of the arcs and begins to branch out in mathematical proportions by the rotation of other sub - components. It begins to develop in another axis as well.

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“precedences” understanding from the past Studio : 1B

| Instructor : David Freeland

Overview : In this assignment “ Precedences” is the formal analysis of prior or parental elements in architecture. The assignment aims to develop an understanding of plans based on mathematical and proportional context by analyizing and studying certain plans which had been allocated to us. Allowing an indepth understanding of how forms are derived from precedential geometries.

Prompt: The prompt was to analyze the plan of the Hagia Sophia, and to “reverse - engineer” the plan to be able to develop an understanding of how each geometries relate to each other in forms of sysmtems and principles which were used as a tool to develop the plan. After which we are to re - construct the plan based on our understanding , implementing the use of these systems of mathematical proportions and alogrithmic increments to full develop ten layers of plans in sequential form which leads on to the final plan.

Introduction: A few of the common principles and systems found in the hagia sophia includes local and global symmetries and hybrid systems of both radial and grid fields. The plan is them broken down based on the increments between geometries and technique used to develop the radial grid to unravel and re - develop the plans.

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hagia sophia geometrical autopsy

The plan of the Hagia sophia was constructed based on mathematical proportions and systematic principles. In this study, the prompt was to re-construct the plan based on its basic geometry. Hence, leading on the the term â&#x20AC;&#x153;Geometrical Autopsyâ&#x20AC;?.

Generally dissecting the geometries and analyzing thier roles in the overall plan to re - construct them from a blank canvas. some prominent principles found in the manifestation of the plan includes principles of symmetry and incremental shifts leading on the the formation of grids which acts as a guiding tool to furthur deploy sub - geometries.

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Layer one: Through analysis, most geometries were formed from the center out.

Starting with only a circle, the plan begins to lay out axis of symmertry and other guiding tools.

Layer six: Ceiling plan is formed via the articulation of the grids patterns of increments are noted on the grids.

Layer two: using the square as a guiding tool, the plan begins to construct the semi dome structures and a bounding box

Layer seven: Details are added to the columns and more increments begins to ripple out from the grid

Layer three: The deployment of sub - domes are from based on proportions and earlier guiding tools

Layer eight: The deployment of seconday columns, along the base of the sub - dome based on radial increments.

Layer four: The organizational grid begins to be more defined and articulate based on sub - increments.

Layer nine: Projection of arcs and circles are used to define columns and smaller scaled elements.

Layer five: The deployment of primary columns begins to appear between grids, allocating in a sparse manner.

Layer ten: The arrival of the final plan , including poache and two highlighted figures which are used for futhur study.

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REST WORK LOUNGE GALLERY action

MASSING DIAGRAM distribution of space:

Action + Gallery:

Work:

The intergration of programs are based on several different factors, including circulation between spaces, verticle distribution [perspectives from the top and bottom] , the balance between public and private space, also finally the overall aesthetics of the form.

The action space , techinically a free space registers as the entrance , as well as the opening for the gallery, this space then begins to merge with the gallery through several process due to the nature of its ambiguity. both spaces can also be seen as leisure programs. Hence, they are allocated at the bottom, where there are more interaction with the public. The gallery space is generally a space for the display and viewing of art piece.

The working space is allocated on a higher elevation, giving the subject a better visual experience while remaining off the ground and far from distraction.

The overall concept, is conceived as a twisted ribbon, swerving upward from one end of the ribbon. the ribbon is being broken down into several different components:

Lounge:

Rest: The Resting place, is located at the end of the extremeties of the ribbon, the program is the most segregated from any other spaces due to the nature of its privacy requirement.

the louging space is utilized as a place of business and pleasure, allocated outside the gallery as the artworks begin to spill in the lounging area.

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foundation: TRUNCATED ICOSAHEDRON

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Studio : 1A

| Instructor : Bryonny Roberts

OVERVIEW: â&#x20AC;&#x153;Foundationâ&#x20AC;? marks the begining of a new chapter , in this first chapter we will delve into the foundations of architectural study by understanding the construct of a basic three dimensional objects from two dimensional geometries. The object allocated in this prompt was the Truncated Icosahedren a geometry also found in the traditional soccer ball, comprising of 16 hexagona and 24 pentgons in its construct, each having a distinctive network of tension working collectively in the holistic form.

TRANSFORMATION: The prompt then engages us to study the possibilities of manifestations within a set boundary, extrapolating new forms while retaining certain principles, allowing us to understand simple and basic architectural element without any scale of disruption, APERTURES : Following next is a study of apertures, understanding the possibilities of a negative space within a positive volume,analyzing the juxtaposition and and balance between both realm.

ANOTHER MEDIUM : The final study revolves around the transformation of the object towards a curvilinear form. looking into a different aspect of the three dimensional form as a medium.

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foundation : one truncated icosahedron

The prompt begins with the end product, specifically allocated to each student is a complex three dimensional geometry comprising of a network of sub - geometries working collectively to form the final object. In this case study, the object allocated was a Truncated Icosahedron, consisting of 12 hexagona and 24 pentagons, it begins with the construction of the hexagons on a two-dimensional plane, using primarily mathematical proportions and basic rules of trigonometry to create the hexagons, followed by the projections of arc on a different (z)axis to find the point where both geometries begin to tessellate, leading to the folding up of the form.

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T R U N C AT E D I C

t r i c Vi e w

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HYU LIM HEN

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foundation : two transformation within boundaries

Following the formation of the Truncated Icosahedron is the first transformation process, the prompt was to elaborate a second figure based on certain principle or system from its primary geometry (the Truncated icosahedron) , The principle chosen here was the outline of the original geomtery, while retaining its outline, the shape begins to manifest itself using its outline as a boundary, while extruding each surfaces to form a unique and robust figure. This technique also engages in the mathematical relationship of the truncated icosahedron , with each extrution acting as an amplification of its factes, each edges turns into a facet of its own. Hence, elaborating the figure in terms of multiplication.

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T RANSF ORMED TRUNCATED ICOSAHED RON HY U L I M HE NG Y U / 1 A Fa l l 2 0 1 3

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foundation : three apertures ; mobius

“Apertures” defines an opening, similary like windows or even possibly, in a more ambigious terms it could be defined as a void.This segment of the assingment was to begin to develop or carving out voids within the previous form. Ultimately, gently eroding part of the previous form to create voids that would compliment or juxtapose with its positive space. In this segment of the assignment, the form begins to erode to form a mobius strips, incidentally, developing a void which would interlock with its positive form, introducing a visual juxtaposition of the positive and negative. This assignment also entails introductory section drawings to illustrate the area of “apertures” Conceptual drawing by Hyu Lim (right)

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2D Unfold

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T R A N S F O R M E D T RUNCAT E D I CO S A HE DRO N HYU L I M HENGYU / 1 A Fall 2013 - P163

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foundation : four different mediums [ curvilinear forms]

This final segment of the assignment explores the transition of the final from towards a curvilinear one using basic computer aid tools to develop an understanding of materiality and other complex geometries. This segment also studies the geometrical information of the form by its contouring layers on two different axis. The final edition of the form had been simplified due to the nature of its complex and opulent materiality , nonetheless still retaining key essence of the juxtaposition developed in the previous segment.

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1 H O R I Z O N TA L L AY E R P R O F I L E S 2D LASERCUT PROFILE Y

SOFT TRANSFORMED TRUNCATED ICOSAHEDRO

HYU LIM HENGYU / 1A Fall 201

1 V E R T I C L E L AY E R P R O F I L E S 2D L ASER C U T P R O F I LE X

SO F T T RANSF O RM ED T RUNCAT ED I COSAHEDRON HY U L I M HE N G Y U / 1 A F a l l 2 0 1 3

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VISUAL STUDIES 2A TECHNOLOGIES OF DESCRIPTION I Studio : 2A | Fall 2014 Instructor : Anna Neimarl Overview : This section will focus on drawing a technical object: the light bulb.

Based on the historical exhibition of light bulbs in the Burndy Object Collection at the Huntington Library, students will measure, construct, and intersect these late 19th and early 20th century nearly spherical specimens through drawing, projection, and rendering. Emphasis will be placed on the problem of differentiating between formal geometric descriptions and pixel based images.

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VISUAL STUDIES 2B BANANAS! Studio : 2B | Spring 2016 Instructor : Jenny Wu + Mira Henri Overview : The project objective was to develop complex compositional skills across forms, colors, textures, shadows and highlights, each carefully controlled and articulated in a rendering environment.

The project begins with the modeling of a fruit, followed by a fruit and a cloth and followed by and additional fruit and a folded sheet of paper in the final exercise. The objective was to explore new means of formal exploration through maya and to navigate the skills required to develop intermediate forms through the modeling of fruits in maya. The project also comprises of complex geometries from the creasing and folding of colth.

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FRUIT + CLOTH + PATTERN.

The second exercise was to model a fruit based off a photograph of the fruit and cloth carefull in consideration of composition and its visual qualities . Mainly focusing of several aspects including tonality and highlights and jusxtaposition. After modelling the fruit using Maya software, colors and texture palettes are applied to the fruit and cloth after evaluating and experimenting with several combination of colors, materials and textures to arrive at a compostion which allows the fruit, cloth and texture to work in synchrony.

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One : precision

The prompt was to develop a simple printer calibration sheet, featuring an array of colours , gradients, hues, and various lineweight and linetype. The objective was to develop an understanding of the different result that may vary from different machines. It also develops basic organizational skill in a user - friendly reading of the calibration sheet.

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five : understanding material thickness

The promt of the final assignemnt was to re - develop an three - dimensional object digitally using tools and commands which were taught throughout the semester.

The object assigned was an industrial box and we were tasked to translate the unfolded object into a digital form and re - create the box digitally with included material thickness, the objective was to allow an understanding of material thickness and to account for intersections and the folds of these materials..

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HISTORY THEORY + LIBERAL ARTS A collection of essay written by : Hyu L.Hengyu

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The Beauty OF Tragedy

Course : 1A Visual Rhetorics

| Instructor : Stephen Phillips

We live in a capitalistic world controlled by mass corporations, living lives dictated by social norms which are created by ideologies fed to us from television and mass media.

Slowly we become what we hear and see. Billboards after billboards of pretentious, perfect commercial smiles, driving us towards the idea that everything communicates better with beauty. Television and advertising are often sexualized because sex sells and we see fake and plastic happy looking people on loan advertisements, which could never quite possibly happen in reality. All of which seems to be a great distraction to the everyday people, “assuring” their life is fine , inciting more expenditure despite the inevitable financial bondages from tuitions and home loans, creating more distractions that makes us neglect the repercussions of over consuming , However despite the constant tsunamis of pretentious smiles and perfect life television and mass media is trying to sell, a portrait of a beautiful tragedy photographed during a violent protest suddenly becomes the world press photo of the year.

The photo, captured by Samuel Aranda during a street protest against the thirty three year long regime of authoritarian president Ali Abdul Saleh in Sanaa, Yemen. It depicts Fatima al – Qaws in a traditional Hajib, which veils her entire body and expression while cradling her son zayed in a warm and intimate embrace while he was suffering the effects of tear gas after the violent protest. The photograph not only encapsulates a certain kind of tenderness from the embrace between the mother and her son with her arms wrapped around him in a gentle manner which posture resembles much of a renaissance painting, but it also creates a great juxtaposition with the mysterious elements from the veil of the mother, which inevitably masks her most probable expression of agony. It also accentuates their innocence as victims of the violent retaliation from the government, making the photograph proof and evidence as a form of social awareness for the adversity of such political outrages in the world, Shedding light to the degree of agony caused by politics towards a world sugar coated by corporate entities. A sugar coated world by corporate entities trained to digest easier with the apparatus of beauty. Perhaps it is why the photograph looks shockingly poetic and tragic and the same time.

Despite the occurrence of tragic moments within the picture, the photograph had been strongly aestheticized and captured in a provocative manner which most likely had contributed to the success of the photo which prior to becoming the press photo of the year, underwent a vigorous amount of curating and vetting by judges and juries who critiques a photographs based on aesthetic means for a media company which seeks to serve the masses.

But why is such demand of beauty within a photograph that also seeks to serve the truth so critical and vital? And if such means of curating happens does it not neglect certain information from photographs that are deemed “not beautiful enough” to be publicized? It might all just be due to the way society reads and understand, with beauty and aesthetics being the supreme mediator between information and us.

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The Beauty OF Tragedy

Although the shot is composed by a man with neither understanding of such circumstances nor understanding of such agony, it eventually leads on to unintentionally portraying the subjects under some misconceptions, but nonetheless some truth towards the agony of the subject resonates and shakes the modern society which is driven by beauty. Then maybe it comes into realization that the beauty and aestheticism is merely a great apparatus in propagating such controversial photographs.

Despite the fact that some truth may never shed light in a world driven by aesthetics and beauty, where things are often prioritized based on the mixed agenda of media companies between profits and journalism there can be a great distortion of information based on the misinterpretations of speculators at times. However, most publications hold a striking balance between truth and beauty, and sometimes only truth can be heard with beauty as an a p p a ra t u s.

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propaganda and identities

Course : Design Cultures

| Instructor : Dora Epstein Jones

Over the years, there has been many debates over the incorporation of multiple functions towards design, some might see this incorporation as a kind of taboo in the art of design with the belief that somehow multiple functions might compromise its aesthetics or reciprocates in a kind of fragility through the implementation of more functions. In this context we observe the mobile home, the caravan. Before the Airstream took a revolutionary turn on mobile living, caravans are deemed a poor invention due to the idea that a house cannot be a car or at least the combination of both a car and a house was not easily accepted due to the lack of “proper functioning” many were skeptical of this convergence of function and often fret over the idea that a house on wheels would create much issues and problems.

The Idea of a caravan was often associated with hygiene, danger, poverty, ect. 1 However, Benham might argue that these ideologies behind the caravan were a mere result of perhaps, poor design.2 Is it an image based design issue that evokes a poor justification of its actual potential? or is the invention truly poor?

Based on Benham’s “Taking it with you”, the airstream had successfully managed to retain its existing function as a caravan but however demolish its infamous relation with the “problems” associated with the caravan. How is this possible? According to Benham, it is the controversial new design which sets it aside from its predecessor, successfully manifesting a new, stronger, bolder, and intriguing image of its own3, Hence, successfully abolishing the previous identity of the caravan. This success propelled the design of the airstream to fame, turning it viral and globalizing it through the propagation of the media. This phenomenon not only globalized the beauty in design of the airstream, but it also unintentionally encapsulates the American identity with its design, educating foreigners and strangers the sort of association between the design and America itself and therefore, creating a strong relationship between the two. This American identity4 can also be seen due to the fact that its creation is influenced by the American lifestyle, the “freedom” among civilians and the strong sense of wanderlust among most Americans, as portrayed in music videos and television, the vast skies, the endless freeways. Through this depiction, Americans had been associated with a kind of passion for venture, “vagabonds for life”. Hence, this invention was a clear manifestation of the culture of wanderlust and venture found among Americans.

By analyzing the Airstream and its image, The American identity, hence, had been associated with features and certain design characteristics which had been implemented towards the Airstream such as the general anthropomorphic form, the contour and tapering of the edges and more. These elements such as the contours can be seen among other product designs as well. Whether intentional or not, these product designs emits a sense of American identity through the geometrical relationship established among the objects of many remarkable designs of the American history. One example would be Apple products.

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propaganda and identities

Apple products often feature a seamless tapered edge, contours and a clean and minimalistic finishing touch, these traits whether or not influenced by the Airstream, contain notable similarities between them, therefore, when analyzing might create a relationship between the two, and generalizing the features as a form of an American identity. Whether or not Apple had the intention of associating the apple product design and its design characteristics / principles, the Apple Company had successfully managed to tie a strong bond between its product and the American identity. Generally when we think of apple design, America comes to mind. This inevitable association between the two could be due to the fact that Appleâ&#x20AC;&#x2122;s mass produced products are stamped with the â&#x20AC;&#x153;Designed in Californiaâ&#x20AC;? text which confirms the bond between the two. Also, in contribution to the image, the exponential sales of the apple products reciprocates in the globalizing of its design and its association with the American identity.

In conclusion, the American identity, just like any other cultural identity is constantly evolving to the rhythm of pop culture and many viral influences justified by the countries origin. These identities established by countries in modern societies are often controlled by giant corporations which hold the key to mass production and propagation; Similarly, like the apple company. In my opinion, this is somewhat a waste as most of these corporations true agenda is tied to the profit it makes; Hence occasionally the design could in turn have adverse repercussions on its identity. One example would be thing that are made in China which are often associated with lack of quality. Therefore, design plays a crucial part when it comes to mass production. I believe a successful design is one that is able to retain its function yet incorporates extreme aesthetics and beauty. Only then with such balance in form and function comes such beauty.

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the controversial & the commercial

Course : Design Cultures

| Instructor : Dora Epstein Jones

What constitutes to the success of a design? How does society play a role in designing? Should designs be a pure unguarded manifestation of the designer? if so, how does social influence come to play in design? The writings by forty and jones provides an in-depth analysis and investigation on these questions and studies an array of variable aspects of design ranging from the omnipotence as designers, cultural influences and technical aspects of design. We will look into how these factors contributes to the success of design and also emphasise on the cross discourse set between design, the designer and society itself. However, both authors illustrates different contrasting perspective on designs, are designers omnipotent in their freedom of expression? if so, why must society and sponsors be taken into consideration while conceiving a design? In this essay, we delve into both aspects of forty and jones.

“Design, Designers and the literature of design” written by Forty analyses the design of the lucky strike packaging which design was considered a success given it establishment of the american identity through a clean look with the use of simple and minimal colour tones of red and white. This choice of design created an new image for lucky strike and introduced the essence of the american through subtle and minimal means, which in turn made it a great success as the rise in immigrants yearning the partial acknowledgement of being an american contributed to great deal for the lucky strike company. This movement and choices which relates to the correlation between design and society’s demand can also be much related the writings “What is designing” By jones which offers an in-depth study of how great designs are associated with meeting sponsors, clients manufactures and distributor requirement in acquiring accessibility and meeting the mass. Jones also believed in a recipe to good design, however, forty might argue that the principles of design cannot be taught through typical means and might change with the ever evolving pace of culture and society.

One example of a successful design would be the everyday milk carton. it was not until the early 1906 when milk cartons were distributed in the city of san francisco, Before that, milk was transported with the use of glass bottles which was deemed too heavy which contributed in difficulties in transportation, hence, affected cost. it was also breakable and a great hassle for it to be cleaned and reuse.However, things took an interesting turn as G.W Maxwell found a remedy to the problem with the use of paper cartons,hence, the idea of the milk carton was conceived. The use of paper cartons lighten the weight of the milk which accommodates more for transportation, therefore more efficient through cost and time. the square packing also accommodates more room for transportation as it maximises the volume since glass bottle have a kind of contour which restricts appropriate stacking. finally, its unbreakable and easy to recycle.

The milk carton is a great example of Jone’s means of design meeting manufacturing needs by finding a remedy to the problems of inefficiency, G.W maxwell designed the milk cartons in response to a problem and in turn was a great success. This idea of design was not only a solution but also created a new culture of its own. manifesting a new way of life on its own,

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the controversial & the commercial

which brings to a point about forty’s beliefs in the omnipotence as designers. Another classic example of great design that shaped the world was the Monobloc plastic chair designed

by Italian designer Mico Magistretti in 1967 which then went into production with Allibert Group in the 1970s. Since then, The chair had created a widespread phenomenon and millions have been manufactured in countries including Russia, Taiwan, Australia, Mexico, the United States, Italy, France, Germany, Morocco, Turkey, Israel and China. This clearly illustrated the global influences that the chair had based on the omnipotence of a specific designer. Who did not only designed a chair that was simply ingenious but also redefined the world there the revolution of his design. The mono bloc chair similar to the milk cartons is capable of maximum efficiency through the use to stacking and also light weight .

By far, both examples being used illustrates the technical and commercial aspects of design possibilities and success, however ,ironically, or maybe paradoxically, adrian wrote that sometimes designers must be able to exercise omnipotence ignoring the fact that they are agents of ideology. But is it ever possible with the constant changing ever evolving world? if designers should be omnipotent in their own way,would it compromise the aesthetics for its patron?

The Apple iPhone. One of the most revolutionary and successful phone in the world, assembled with simply a glass panel and aluminum backing, was the first phone to feature a minimalistic look with the use of only a singular home button, a power button, volume and silent switch. This design influenced many other brands which also featured similar properties.

Why does so many companies follow the footsteps of Apple? And how did apple take such a huge leap of faith removing the conventional buttons that we use everyday yet make it such a huge success? Possibly this defines the omnipotence of a designer & the “recipe” of design which at that time conforms to the standards of mostly excessive plastic keypads. The design of the iPhone not only managed to redefine the phone but also in terms of Jone’s writings, managed to feature great efficiency in terms of their packaging and their minimalistic accessories which consist of far too little plastic compared to the norm.

Forty and Jone’s perspectives on design and it’s literature illuminated the astounding factors which contributes the success of design, both writing provided a critical analysis on both from commercial and controversial aspects, from manufacturing to the omnipotence of a designers being able to ignore the role as a mediator between clients and society. Despite the technicality of design and its realistic capacity set by Jone’s, Forty striked a balance in terms of expressing the power as designers and their freedom to design in their own means ignoring ideologies. Both authors provides views that are interdependent in creating the “perfect” design.

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PLASTIC CUPS, PLASTIC HEARTS Course : Collegiate writting

| Instructor : Claire Phillips

It is a Friday night and for several weeks, you’ve been stuck in the same office with the same people with the same pursuits in the exact same rat race, the rat race to escape the financial bondage from unpaid home loans, cars and your college tuition. Hence, you found yourself stuck here in the corporate jungle, except in this jungle only the colors of black and white exist, you realize everyone’s shirts, suit, ties and briefcases seemed to be from the same wardrobe, the array of whites, black, occasionally navy blue and leather all clearly dictated by the corporate norms and etiquette of business. Individuality dies a little each day.

The office was illuminated with the same fluorescent tube echoing down the hallways in its distinct artificial manner. The same fluorescent tube which has been mass produced which transcends a kind of mundanity and banality, You love it here. And you hear the same clicking of pens thru every meetings, you love it here, the same grids of numbers and spreadsheets on every computer screens, you love it here.

And the same unbearable sound of printers running its inkjet along its track printing stacks of papers that don’t make sense to you. You love it here.

So some time along that devastatingly mundane outcome of your life that you certainly did not hope for, you decided that you were going to head out. You wanted to live the remaining youth you have. you wanted a controversial life. And just like every other corporate animals you dwell in hard liquors, substances, adrenaline and fast cars for your “getaway”. money can buy you happiness. You don’t have the time to invest in perfect relationships like those in the movies, after awhile you stop believing the lies they try to sell you and you start counting the money they make from selling those novels. You don’t have a “home” to go to; no place called home where you know that mom and dad will always be. No one to tell you they’ll be there no matter what. What doesn’t kill you makes you stronger is the new lie you try to sell yourself.

Ten feet away, the muffled bass from behind the door starts enticing you and your friends, you know it’ll be another “memorable” night. You step in and bass gets louder the colors got brighter and the morals got looser. Neon lights of pink, yellow, green and blue flashes in sync with the music, colors that you have not seen for almost a week. your adrenaline builds up and your ego follows along. You pop a bottle and a few girls decide to join. You pop a bigger bottle, more girls decide to join. You note the trend but ignorance’s a bliss, ignorance’s a curse.

This is what the superficial & mainstream world is made of : lyrics of fast expensive cars and pretty babes , alcohol and drugs and flashing light, you know you are disgusted . But somehow you can’t find the courage to separate ourselves from the norm. Because you don’t want to be alone. Because nobody wants to be alone or at least being the minority better known as the misfits of society had a heavy price to pay. thru the evolution of society, the outburst of social media platforms, society became more dependent of acceptance of the mass, stirring up the drive and hunger of fame & followers and and you know you don’t want to miss out no matter how disgusted you are. Because once again, you’re afraid of being alone.

Imitation intimacies, blooming throughout the floor . Plastic jugs that filled plastic hearts, plastic hearts with an endless void. Ironically, the most memorable nights are the ones we can barely remember.

But what was the pursuit? somehow we can’t remember. But we were chasing something. A mystical concoction of liquor and substances took a toll on your body. On the second bottle, you blacked out.

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PLASTIC CUPS, PLASTIC HEARTS

Sitting on the wheelchair, you start to sober up. You find yourself attached to tubes of other substances, you look around you, you look at the people around you, people fighting colon cancer, people with amputated limbs from diabetes, and you are shamed by the way you ended up here , in the same line waiting to be treated , a sense of guilt engulfed upon you when you start realizing the fact that the people here in the same hospital had their serving of misfortunes thru a certain fate that was uncontrolled. and you? you ended up here by choice.

Then you thought to yourself: maybe the mundane isnâ&#x20AC;&#x2122;t so bad after all, the cycle never fails to continue. a short story by Hyu Lim

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panopticon : green eyes.

Course : Collegiate Writting

| Instructor : Claire Phillips

Panopticism by Foucault successfully describes the idea of power and discipline through the implementation of a fortress like architecture. The idea of Panopticism not only revolves around the physical mechanism of architecture itself, but it also refers to how it could potentially shape the disciplinary structure of society by introducing hierarchal principles and thus creates a self-sustaining environment independently. However, similarly to Foucault’s, there are strong elements from Panopticism that are seen implied among corporations, schools, hospitals and military organizations. Organizations that operate with a hierarchal & disciplinary mechanism which is the key to efficiency and daily operation. One example based on personal experience would be the military.

The agenda of the military body is simple and concise, to protect and defend a nation from any possible threats, however these modes of physical training to arm soldiers with the amp skills to defend and protect requires extreme discipline and regimentation to be able to conquer and demolish the barrier of one’s physical and mental limits. However, ironically the motive and intension behind it is much softer, gentler and more humane; for our loved ones.

Upon entering the military, every enlistee begins with shaving their head. The truncation of various styles, color, individuality all which subsides to a simple uniform length of a single millimeter. This symbolic ritual strips one’s identity and dictates one’s rank in the army, which upon entering would be a recruit. The recruit then receives a number tag which would be how one would be identified for administrative purposes. Similarly, like the inmates of a prison. This process subsides individuality to a homogeneous ground which demolishes room for any disparity among the recruits. This ritual was pointed out by Foucault’s Panopticism as quote “individualities merging together, a collective effect, is abolished and replaced by a collection of separated individualities. From the point of view of the guardian, it is replaced by a multiplicity that can be numbered and supervised; from the point of view of the inmates, by a sequestered and observed solitude”. This quote that was based on an extraction of Bentham’s panopticon letters, clearly illustrates the function of the ritual and how it can be seen as a successful mechanism in the play of observation and supervision. However, this vicious process of abolishing individualities would not suffice to having ample control over one for total supervision and power as architecture and other elements features a huge contribution to panopticism.

Subsequently, the recruits are then assigned to a company which usually consists of two hundred people. Within the company they are assigned a platoon which consist of approximately fifty people and under each platoon, they are assigned a section which consist of mainly twelve to fifteen people. A typical company would consist of four platoons which can be subdivided into four sections from each platoon, this segregation of the recruits is primarily to assist supervision. The company is then supervised by commanders which are allocated based on a hierarchy of power, a section is in charge by a sergeant, a platoon is in charge by a lieutenant and a company is in charge by a captain. This systematic hierarchal breakdown of supervision and power which can also be seen implemented among corporations, instills a great deal of efficiency

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panopticon : green eyes. and self-sustainability. As pointed by Foucault, “The penetration of regulation into even the smallest details of everyday life through the mediation of the complete hierarchy that assured the capillary function of power” This panoptic strategy assist the organization through the chain of command, allowing personnels of a certain power to make instantaneous decisions to remedy a problem or an issue. The segmentation of a company is also efficient in ways that large scale obstacle and training can be conducted on a company level while administrations and monitoring can be conduction on a section level, Hence maximizing time efficiency.

However implementing these labels and position of authority, the key to Panopticon is mainly its fortress like architecture which is the key figure for the application of such hierarchy.

The recruits are then allocated bunks based on their section and platoon. Each company has four levels, one for each platoon, each level has four bunks, one for each section, all of which are designed like a prison cell. The bunks are merely separated by walls, with only a corridor connecting them, each and every bunk can be observed from the center of the parade square, where all the companies are allocated around in a fortress-like manner with every corridor opened to be observed, guarded and scrutinized by the center of the parade square. The bunk beds are pre-labeled with their identification number tags, all of which aligned in a parallel manner on the left and on the right side of the room with each bed facing each other. This lack of privacy incorporates cross supervision and observations among each other. During meal times, the whole company would assemble in a contingent of rows and columns, in which the recruits are visible by the commanders, the line up and assembly of the soldiers in this manner makes it clear for any movement or disparity among them. The cookhouse, which is where the soldiers would have their meals, resembles much as those architecture organization of china factory like Foxcon , a line to pick their food up , endless rows of solid rectangular tables, aligned in a parallel manner, all of which are guarded and observed by the front row, which consist of mainly commanders and supervisors. The soldiers then quickly consume their food, trying to meet the time limit given to them. Soon, another batch would arrive and it would be their turn to consume. This system of surveillance can be seen as a panoptic phenomenon, as quote by Foucault, “Permanent visibility that assures the automatic functioning of power. So to arrange things that the surveillance is permanent in its effects, even if it is discontinuous in its action; that the perfection of power should be a machine for creating and sustaining a power relation independent of the people who exercise it”. This suggest that through this transparency between the subjects and the observer. it would assist the proper functioning of power as there is a visual constrain held between the observer and the subject.

Although Foucault and Betham managed to illustrate the ideal structure of Panoticism, which can be seen successfully applied and operated among schools, hospitals, corporation and military by a fortress like architecture, hierarchy of control and social segregations, it may not be able to adapt to the ever-evolving changes within society as people have the tendency to change and hence with its new behavior deemed incompatible with the application of such structure. As the world progresses and through the globalization of different ideologies and concepts spreading among society, individuality becomes more diverse and impeccable. Making it difficult for people to conform to a singular uniform trait. People are becoming more interested in privacy and also, in power; the demand to be on top on the hierarchy. As a result of this evolution, Panopticism seems to be harder to implement in today’s society. People of our age tend to be fuelled by welfare and materials and not by surveillance and the abolishing of individuality.

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